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New and Traditional Approaches in the Researches of Modern Representatives of Philological Sciences

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New and Traditional Approaches in the Researches of Modern Representatives of Philological Sciences NEW AND TRADITIONAL APPROACHES IN THE RESEARCHES OF MODERN REPRESENTATIVES OF PHILOLOGICAL SCIENCES Collective monograph Lviv-Toruń Liha-Pres 2019 Recommended for printing and distributing via the Internet as authorized by the Decision of the Academic Council of V. I. Vernadskiy Taurida National University (Minutes No 10 dated 20.06.2019) Reviewers: Dr Adam Wróbel, School of Polish Language and Culture of Cuiavian University in Wloclawek (Republic of Poland); Mgr Joanna Skiba, Director of the Center for Foreign Languages, Cuiavian University in Włocławek (Republic of Poland); Volodymir Kazarin, Doctor of Philology, Professor, Acting Rector, V. I. Vernadskiy Taurida National University. New and traditional approaches in the researches of modern representatives of philological sciences : collective monograph / V. P. Kazarin, T. O. Kozlova, O. S. Semenets, L. P. Statkevych, etc. – Lviv-Toruń : Liha-Pres, 2019. – 180 р. ISBN 978-966-397-172-8 Liha-Pres is an international publishing house which belongs to the category „C” according to the classification of Research School for Socio-Economic and Natural Sciences of the Environment (SENSE) [isn: 3943, 1705, 1704, 1703, 1702, 1701; prefixMetCode: 978966397]. Official website – www.sense.nl. ISBN 978-966-397-172-8 © Liha-Pres, 2019 CONTENTS TAORMINA AND TAURIDA (ABOUT SICILIAN AWARD OBTAINED BY ANNA AKHMATOVA-HORENKO) Kazarin V. P. .......................................................................................................... 1 ENGLISH IN EUROPE: FROM NATIONALLY HOMOGENEOUS LANGUAGE TO LINGUA FRANCA Kozlova T. O. ........................................................................................................ 24 GENRE SPECIFIC OF J. GENET`S NOVELS Semenets O. S. ...................................................................................................... 42 THE EMBODIMENT OF INTERTEXTUALITY IN MODERN LITERATURE Statkevych L. P. .................................................................................................... 59 CONCEPTION OF ARTISTIC WORD AS A SIGN IN MODERN LITERARY STUDY Sventsitska E. M. .................................................................................................. 83 YEVGENIA KONONENKO’S DETECTIVES Tkachenko T. I. .................................................................................................. 103 TYPES OF ETHNOPHOBISMS, THEIR ETYMOLOGY AND USAGE Mizetska V. Y., Zubov M. I. ............................................................................. 121 THE ROLE OF INTONATION IN THE MANIFISTATION OF WILL IN COURTROOM DISCOURSE Savchuk H. V. ..................................................................................................... 136 iii PERSUASION IN ENGLISH MOTIVATIONAL DISCOURSE Melko Kh. B. ....................................................................................................... 154 iv DOI https://doi.org/10.36059/978-966-397-172-8/1-23 TAORMINA AND TAURIDA (ABOUT SICILIAN AWARD OBTAINED BY ANNA AKHMATOVA-HORENKO) Kazarin V. P. INTRODUCTION She was a celebrity of 1910s – 1920s. But then, after a several- decade-long period of non-publication, she became half-forgotten. She was still highly rated but (as they said) “in narrow circles”. She was attained (in her own words) and publicly anathematized by a special decree issued by the Central Committee of the All-Union Communist Party of Bolsheviks in 19461. And yet she – Anna Andreevna Akhmatova- Horenko (1889–1966) – lived up to see her public and literary resuscitation.Here is how Irina Nikolaevna Punina, Akhmatova’s assistant andNikolai Nikolaevich Punin’s daughter (Anna Akhmatova’s third husband), who had a fellow feeling for her, writes about: «В 1954-м году – впервые за много лет – Анна Андреевна выехала за пределы Москвы-Ленинграда, вместе с Аней Каминской она побывала в Таллине, и это был первый симптом пробуждения. Постепенно Ахматова получает возможность работать и печататься, ей дают всё больше и больше заказов на переводы корейской, китайской, болгарской (добавим: и украинской. – Авт.) поэзии; публикуются её собственные стихи в периодических изданиях. Наконец, в 1958-м году вышла первая после страшного постановления ЦК ВКП(б) 1946 г. маленькая книжка стихов Ахматовой. В 1961-м – следующая. <…> В 1960-е годы стихи Ахматовой были переведены и изданы почти на всех европейских языках». It was Anna Akhmatova’s leaving abroad that caused the most difficulties. But let’s keep on I. N. Punina’s story: А. А. «многократно приглашали на различные форумы», но «Союз писателей (СССР. – Авт.), как правило, даже не уведомлял об этом Ахматову»2. Finally, 1 Казарин В. П., Новикова М. А. «… Ровно десять лет ходила / Под наганом…»: (А. А. Ахматова- Горенко и сэр Исайя Бёрлин) // Вчені записки Таврійського національного університету імені В. І. Вернадського. Серія: «Філологія. Соціальні комунікації». Т. 29 (68). № 2. – Київ: Гельветика, 2018. – С. 201-213. 2 Пунина И. Н. Анна Ахматова в Италии // La Pietroburgo di Anna Achmatova. – Bologna: Grafis Edizion, 1996. – P. 54-64. 1 in the summer of 1964, Secretary General of the European Community of Writers, Giancarlo Vigorelli, visited Leningrad. He saw Akhmatova in Komarovo and personally gave her an invitation to the next community congress, which was to be held in Sicily. Anna Akhmatova had to obtain the Etna-Taormina International Italian Literary Prize there3. 1. Italy, Sicily, Taormina The first – after a half-century break – Anna Akhmatova’s leaving abroad. The first anthological book of her poems in translation of the Nobel laureate, Salvatore Quasimodo. The first foreign literary prize. All these events are deeply symbolic. We will comment them and move on to the Italian location. Why are the events of 1964 symbolic for Akhmatova? Firstly, the concepts of “self-non-self” got strengthened, but also inverted. The border crossing (according to Akhmatova’s feelings and her companion’s memories) didn’t prove to be a parting with Leningrad, but a meeting with Rome, then with Sicily and Taormina. Truly speaking, Akhmatova dreamed most to see Venice, about which she had been keeping memories since her first travel to Italy (1912). That wasn’t going to happen. They were going through the city at night, in dense fog. The second finding: Italy of the “second arrival” was not everywhere “her own space” for Akhmatova. The bell ringing and pre-Christmas window decoration in Catania, the capital of Sicily, reminded Akhmatova her pre-Christmas childhood. But, in the same city, a huge administrative building in the central square with a pompous statue in front looked as “a stranger” – (it reminds the American Statue of Liberty, writes I. N. Punina4; for “Soviet” guests, the association could be different). “Sicily’s spring in December” turned out to be “her good fairy tale”: lemons and oranges in trees along the road, bright green grass and cacti in blossom (“higher than two-story buildings”). Luxuriously tasteless rooms in the capital’s hotels stroke “as strange”. Having been turned into a hotel, the Dominican monastery in Taormina looked “her own” with “rooms – cells”, old wooden beds and floor-to-ceiling windows overlooking the garden. Cheerful poets and Italian journalists came to Akhmatova to get introduced “as friends”; she gave them a treat of a black bread with vodka “as to friends”; and the conversation was flowing beyond midnight 3 [Б.а.] Русские писатели – лауреаты итальянских литературных премий. [Электронный ресурс]. – Режим доступа: http:// https://www.bfrz.ru/?mod=static&id=655. 4 Пунина И. Н. Анна Ахматова в Италии // LaPietroburgodiAnnaAchmatova. – Bologna: Grafis- Edizion, 1996. – P. 54-64. 2 “as between friends”. The official meetings, conference rooms, marble and bronze, “floodlights” and media sensationalism were “strange”. Tvardowsky was “her own”: he himself was helping the laureate to prepare her presentation at the award ceremony and reverently listened to her recitation of poems about the Muse and about Dante’s Pages of Hell. I.N. Punina: «Я не помню такого сосредоточенного внимания к стихам даже среди самых горячих поклонников Ахматовой»5 The officials from the Writers’ Union had been “strangers” and still were. To sum up: the poetess took as “her own” both chronologically distant (childhood and youth memories, when her Motherland and Western Europe did not yet look like different planets), and recent (when she perceived the atmosphere of foreign countries and the “capital on the Neva” as already dissimilar, but still mutually “translatable”). Everything that had a big distance from one another looked like “strange” making Akhmatova of 1964, a stranger both in Italy and “at home”. She was unlikely to forget the powerful image of Duce’s fascist Italy in the verses of Osip Mandelstam from the 1930s: «<…> И над Римом диктатора-выродка / Подбородок тяжёлый висит» But she could not forget the black “Maroussia” (paddy wagons) at the night entrances to Leningrad houses during the Stalinist era. The joy of the Taormina meeting for both sides, Russian and Italian, was mutual. It was a common joy of liberation6. But what did Akhmatova see in Sicily? Through the eyes of history, not only decades, but also centuries (or millennia)? What bridges were drawn between this Great History – and the personal biography of the Taormina laureate? It is immediately obvious: one name sounds over both stories – Taurus. The poetess’ childhood and youth are overshadowed by the Crimea: ancient Taurida and Tauric Chersonesos. Akhmatova called herself “the last Chersonesos dweller”. She
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